Analysis and perception in post-tonal music: an example from Kurtág’s String Quartet Op. 1

Addessi, Anna Rita; Caterina, Roberto

doi:10.1177/0305735605048015

Cited by 8 publications

(8 citation statements)

References 18 publications

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“…Thus, HF accents work as cues that affect the perception of the overall structure of the piece. These results are in line with our previous studies on the memorization of the overall structure (Addessi and Caterina, 2000, 2005). Instead, surprisingly, it seems that the strong beat (SB) does not affect the perception of the strong accents more than the weak beat (WB).…”

Section: Discussionsupporting

confidence: 93%

“…In our previous experimental studies, we analyzed how the listeners (musicians and non-musicians) memorize the overall structure of post-tonal music during listening in real time (Addessi and Caterina, 2005; Addessi, 2010). We observed that the perception of “prominent features” allowed the listeners to perceive several points of segmentations, to divide the piece into the main sections and consequently, to memorize the overall structure of the musical piece.…”

Section: Introductionmentioning

confidence: 99%

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Probing the Underlying Principles of Perceived Immanent Accents Using a Modeling Approach

et al. 2019

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This article deals with the question of how the perception of the “immanent accents” can be predicted and modeled. By immanent accent we mean any musical event in the score that is related to important points in the musical structure (e.g., tactus positions, melodic peaks) and is therefore able to capture the attention of a listener. Our aim was to investigate the underlying principles of these accented notes by combining quantitative modeling, music analysis and experimental methods. A listening experiment was conducted where 30 participants indicated perceived accented notes for 60 melodies, vocal and instrumental, selected from Baroque, Romantic and Post-tonal styles. This produced a large and unique collection of perceptual data about the perceived immanent accents, organized by styles consisting of vocal and instrumental melodies within Western art music. The music analysis of the indicated accents provided a preliminary list of musical features that could be identified as possible reasons for the raters’ perception of the immanent accents. These features related to the score in different ways, e.g., repeated fragments, single notes, or overall structure. A modeling approach was used to quantify the influence of feature groups related to pitch contour, tempo, timing, simple phrasing, and meter. A set of 43 computational features was defined from the music analysis and previous studies and extracted from the score representation. The mean ratings of the participants were predicted using multiple linear regression and support vector regression. The latter method (using cross-validation) obtained the best result of about 66% explained variance ( r = 0.81) across all melodies and for a selected group of raters. The independent contribution of each feature group was relatively high for pitch contour and timing (9.6 and 7.0%). There were also significant contributions from tempo (4.5%), simple phrasing (4.4%), and meter (3.9%). Interestingly, the independent contribution varied greatly across participants, implying different listener strategies, and also some variability across different styles. The large differences among listeners emphasize the importance of considering the individual listener’s perception in future research in music perception.

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Section: Discussionsupporting

confidence: 93%

Section: Introductionmentioning

confidence: 99%

Probing the Underlying Principles of Perceived Immanent Accents Using a Modeling Approach

et al. 2019

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“…Hargreaves and North (1999) conclude that the psychological functions of music embrace three broad domains, specifically cognitive, emotional and social functions. Functions of music listening in the cognitive domain are investigated in studies on the perception, recognition and memory of musical elements and characteristics, such as pitch, melody, rhythm, structure or complexity (e.g., Addessi & Caterina, 2005; Deliège & Sloboda, 1997; Ockelford, 2004); the immanent ability of music to trigger autobiographical memory (Cady, Harris, & Knappenberger, 2008; Schulkind, Hennis, & Rubin, 1999); and music’s influence on cognitive performance (Furnham & Stephenson, 2007; Lesiuk, 2005; Schellenberg, Nakata, Hunter, & Tamoto, 2007). The emotional domain receives attention in studies about emotions perceived in music, emotions and physical reactions induced through music and emotions expressed through music (Juslin, 2005; Juslin & Laukka, 2004; Nawrot, 2003).…”

Section: The Functions Of Music Listening: Three Levels Of Musical Experiencementioning

confidence: 99%

Towards a holistic model of functions of music listening across cultures: A culturally decentred qualitative approach

Boer

Fischer

2011

Psychology of Music

102

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The present article explores the functions of music listening from a cross-cultural perspective. We present a model of functions of music listening based on a multicultural qualitative approach. Our model covers personal, social and cultural musical experiences. Seven main functions of music listening were identified: music in the background, memories through music, music as diversion, emotions and self-regulation through music, music as reflection of self and social bonding through music. Our model was confirmed in an independent sample using a cross-method validation. Quantitative analyses of the qualitative data explored the salience of functions of music listening across four sub-samples: Asian and Latin-American sub-samples being more collectivistic and non- Anglophone Western and Anglophone Western sub-samples being more individualistic. Across all sub-samples the self-regulation function was the most important personal use of music, bonding was the most important social use of music and the expression of cultural identity was the most salient cultural function of music regardless of listeners’ cultural background. Apart from these similarities which point towards universalities, we also revealed cross-cultural differences pointing towards culture-specific uses of music. Limitations in the methodology of this exploratory cross-cultural approach and future directions in cross-cultural psychology of music are discussed.

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“…The division into parts of a tonal piece largely depends, however, on formal (and cultural) rules (exposition, development, conclusion, coda, recapitulation, bridge, repetition, symmetry, etc.). Traces of these cultural rules may, in fact, persist in posttonal music (Baroni 2003, Addessi and Caterina 2005, Imberty 2005, Lalitte et al 2009). …”

Section: The Perception Of Macroform In Post-tonal Musicmentioning

confidence: 99%

“…By working on such a homogeneous repertoire, the number of variables is limited and it is therefore easier to formulate plausible and general hypotheses about the problems of listening to post-tonal music. In Addessi & Caterina (2005) a comparison was made between the macroformal analyses of the fifth movement of the String Quartet Op. 1 by G. Kurtág, carried out by several professional music analysts from different Italian universities, and those perceived by two groups of subjects (musicians and not musicians) while listening to the piece in real time.…”

Section: Macroform Analysed and Macroform Perceivedmentioning

confidence: 99%

Auditive analysis of the Quartetto per Archi in due tempi (1955) by Bruno Maderna

Addessi

2010

Musicae Scientiae

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People very often ask me questions about form. They expect me to talk about mathematical formulae, a bit like I do with spectrum; it's easy with spectrum, but not with time. I find it impossible to use the same form for different pieces: every musical work is a new experience of time. It's for this reason that I can't explain it beforehand... because for me, explaining the form of a piece is the same as listening to it. Talking about form when we are dealing with listening, is simply a pleonasm.... it doesn't add anything else. (Tristan Murail 2002) • ABSTRACTThe present study on Maderna's quartet aims to compare the "macroform" (the large-scale structure of a musical piece) perceived by subjects while listening to the piece in real time, and the "macroform" as perceived by professional analysts. The study also examines the correlation between "macroform" and perception of tension/relaxation. Two groups of subjects took part in the experiment: 25 nonmusicians and 32 musicians. The experiment was carried out both in Bologna and in Edinburgh. We made use of a special computer program, which allows each subject to listen to a piece through head-phones and indicate the points of division and the tension/relaxation perceived while listening in real time. The experiment lasted approximately 60 minutes and involved various steps and tasks. After an initial listening which served to become familiar with the piece and with the computer program, the subjects had to listen to the piece again and identify its main sections. They then had to indicate the criteria they used in formulating their solutions. In the next listening they had to indicate the largest zones of tension and relaxation they perceived. The macroforms perceived by the subjects were compared with 4 macroforms indicated by professional analysts based on listening rather than on analytical theories. The data showed higher correlation between macroforms perceived by the subjects and only 2 macroforms indicated by the analysts, and correlation between the macroforms and tension/relaxation perceived by subjects. The differences between musicians and non musicians and Italian and Edinburgh groups were not significant. at QUEENS UNIV LIBRARIES on June 5, 2016 msx.sagepub.com Downloaded from 226 INTRODUCTIONIn this article, an exploratory study on Maderna's quartet is introduced which aims at investigating the relationships between the macroform perceived by subjects while listening to a piece of post-tonal music and the macroforms of the same piece indicated by professional analysts based on listening rather than on analytical theories. This investigation is part of a project carried out at the University of Bologna, which deals with the analysis and perception of "macroform" in post-tonal music, that is, the problem of the overall form of a piece. The project has concentrated mainly on 20 th Century string quartets and has taken into consideration both score and auditive analyses (Addessi & Caterina 2000, Baroni 2003. 1 The study presented in this article aims at...

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Analysis and perception in post-tonal music: an example from Kurtág’s String Quartet Op. 1

Cited by 8 publications

References 18 publications

Probing the Underlying Principles of Perceived Immanent Accents Using a Modeling Approach

Probing the Underlying Principles of Perceived Immanent Accents Using a Modeling Approach

Towards a holistic model of functions of music listening across cultures: A culturally decentred qualitative approach

Auditive analysis of the Quartetto per Archi in due tempi (1955) by Bruno Maderna

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